Virtual reality won't work; in a vast world, they can repeatedly live, fight, and grow within the game world.
Some people could even live their entire lives in the game world, even after leaving the real world.
Therefore, they are almost unable to abandon the worldview we have constructed for them.
In such a vast world, every detail needs to be carefully crafted.
Nine months is simply not enough.
"People consciously or unconsciously gravitate toward media in order to impose a particular worldview on themselves. Through interaction with media such as games, a person is able to place themselves in a reality of their choice."
The Fairy Tree Romance
It's not just about escaping reality in the narrative, but also about escaping reality in the sense of fantasy of another world, or simply escaping reality in the sense of replacing reality.
Our game will allow players to live in the reality we create.
Chen Chi belongs to the academic school of the game industry and has his own understanding of the essence of things.
Compared to him, Chen Ran is a pragmatist who entered the gaming industry because he loves playing games.
Chen Chi, on the other hand, enjoys playing games, then delves into their essence, and eventually enters the gaming industry to combine theory with practice.
His excessive thinking and dislike of exercise caused his weight to rise irreversibly.
"More importantly, the new cycle we've built is no longer suitable for the new game system."
A world where simple cycles of expectation, delivery, and feedback cannot satisfy everyone.
In practice, Chen Ran studied game studies from the perspective of communication and existential states, and then found a set of theories that more accurately describe the impact of successful games on the audience.
Extending the concept that gaming experiences apply to the real world, Chen Ran uses the term "new cycle" to describe how an ideal experience changes players over time.
He defined the new cycle as consisting of three phases:
1. Expectation: Players are drawn to invest time and energy in the experience, trying to achieve the expected emotions.
2. Delivery: The game improves the player's life in a conscious or unconsciously identifiable way, and the player is able to attribute a particular experience to this change in some way.
Furthermore, while delivery and expectations can align, players don't need to. Players never demand that the only thing they get from the game is what they initially thought they would get.
3. Positive feedback loop: Players gain satisfaction and are more willing to actively learn about the background of the game's creation and the motivations of the creators, making them more willing to accept further manipulation.
Genshin Impact is a classic example of a game that achieves a positive feedback loop. Countless players voluntarily defend it, actively try to understand the game company, and even hope that the game company will create more new characters, for fear that the company will not be able to make money from them.
The new cycles differ from the traditionally defined behavioral cycles because, in their ideal state, they are designed not to refresh the experience indefinitely, but to continuously change it.
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